Working with Brushes, Masking and Auto Masking


Lightroom Local Adjustments


Lesson Info

Working with Brushes, Masking and Auto Masking

See that see like the actual canyon is getting lightened up okay, we don't want that because we wanted to look natural, right? So what we're going to do is we're going to go and make sure we select that pin once we've got that pin selected, we're going to go in and show the mask overlay watch this see that see that red nous let's come on her you can see that the red is spilling over into the sky, which doesn't seem to bother us too much so there's no point in removing it because of the sky is bright anyway, but where it does bother us is where it spills over into the canyon, so what we're going to do is we're going to come over here, let me just zoom in here so you can see this setting so we're going to so here's your affect, your customer fact here's all the things that we've done to it and then if you come down here there is three brushes there's an a there's a b and then there's in a race so a and b brush are so that you can kind of toggle between like a big brush and a little brush...

, so if you're constantly going back and forth between the two, you could set one to be a wide feathered brush and then another one could be a targeted hard brush so you can stop go between and b but what? We want to go to his race so you can also get to erase by just hitting the option or the all turkey so if you're busy inside of the your work and you're like right here and I'm I'm spraying this on and then I'm like, oh, I want to race I just hit the option t see how that changed my brush and now I'm now on the eraser brush and then when I let go it goes back to the normal I'm actually going to click on a racer so that it holds it and stays that way so that I can play around with it a little bit more so I'm going to go in and just started racing and watch how oh, and by the way, make sure that you tend turned the flow up in this case to one hundred because we want to remove all of that spill we don't want any spill coming on the canyon and see I'm just tryingto barely get her I don't want I don't want to overstate spray into her, so I'm just being really careful about it now. The other thing that you can do is you khun turn on what's called the autumn, asking let me zoom in so you can see that so the auto mask right here below the flow remember, we turn this up to one hundred percent on a race if you turn on auto mask, what auto mask does and, by the way, don't always leave auto mask on autumn ask should be turned on on lee when necessary, because auto mask is intelligently looking at whatever you just clicked on and it's going to erase that mask until it hits something that's different. So, for instance, the difference between the canyon and her arm? It will hit that area and say, oh, we are now on a different thing. I see the line, and so it will not go into her arm, and it will only get the canyon. However, her arm have pixels that are a little purple at times in the shadows, and so it will see those and go, oh, those must be part of the canyon, and it will then a race on the arm in those little pixel areas. And so if it's a really different if it's like a yellow duck like a little squeaky duck toy on a blue background it's not going to spill over, but if it's a warm toned arm on a sunset, you could have a real problem. The autumn ask isn't gonna work because it's going to see the same colors, the same tones, so I'm going to find the difference so sometimes it works really well other times it doesn't work so well because if it spills over and gets like little pieces, it starts to create a really ugly pattern in the shadows. And so if you've ever seen you've been burning and dodging with the auto mask on and you see like these like weird, noisy speckles in the shadows, it's because your auto mask was like finding things that I thought were part of what it was doing, so I'm gonna leave the auto mask on for this area right here see this because there's gray white and then there's the purple so I can click on here and I'm just going to go in and do this and it's really going to do a good job, not spilling and see I didn't have to be super accurate about it and now that's gone because I was using autumn ask, but if I'm using auto mask in an area that's too similar it's going to look bad so now let's turn off our auto mask, lay our overlay and see what it looks like and you can still see there's a little bit of an area here, so I'm going to click on here and I'm just going to keep pulling that out until I'm satisfied that I've got that edge ok? So now let's, zoom out and see if we can can you see any trail of my work. Now you can't, and so that's what I want. I want it too. So now I can go on and turn on and off our let's. Just turn on and off our settings there. See that so that's the difference between before and after. So in this case, we could have done all of this at the shoot by adding a flash. But the problem is, is you you would have to be falling into the canyon to get a flash over here. So we chose to keep our assistance alive. And we do this after the fact. Well, several people in the chat room, we're concerned about her being that long dress right there. Yes, well, my bride's know what they're getting into when they sign up. Jared were actually very, very cautious when we deal with this. And quite frankly, the drop in front of her is not as drastic as it looks. She might break a leg. Thie drop where I am, his death, certain death. So I always put myself on the certain death side, and then I put my brides on the break a leg side, so

Class Description

Jared Platt takes you beyond the basic adjustments, curves, noise reduction, and effects in the Lightroom Develop module into the local adjustment tools panel in Adobe Lightroom.

Learn how to repair and edit your images, burn and dodge, and create stunning effects on your raw images without ever leaving Lightroom. Jared will show you the most efficient and powerful ways to make your photos pop.

Software Used: Adobe Lightroom 5